Makis Solomos

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Makis Solomos
Born1962 (age 62–63)
Athens, Greece
EducationParis-Sorbonne University
OccupationMusicologist

Makis Solomos (born 1962) is a Franco-Greek musicologist, specializing in contemporary music, particularly the works of Iannis Xenakis and Theodor W. Adorno. [1]

Contents

In 2005, Solomos co-founded the magazine Filigrane, which aimed to broaden the field of musicology. [2] His research focuses on issues related to sound ecology and decay. [3]

Biography

Solomos was born in Athens, Greece in 1962. [4] [5] Early in his life, Solomos was placed in the Gyaros concentration camp alongside his mother. Following their time in the concentration camp, his family was exiled to France. Solomos has lived in Paris since 1980. He studied musical composition with Yoshihisa Taira and Sergio Ortega, and musicology at the Paris-Sorbonne University. [6]

He taught at the University of Montpellier Paul Valéry until 2010. He is currently a professor at the Paris 8 University Vincennes-Saint-Denis and a junior member of the Institut universitaire de France. [7]

Research areas

Solomos' research encompasses a range of analytical, historical, and hermeneutic approaches. While much of his work has focused on Iannis Xenakis, he has also written on composers such as Webern, Varèse, Boulez, Criton, Vaggione, and Di Scipio. His interests span various genres, including spectral music, electronic music, and even aspects of popular music. He also addresses aesthetic questions informed by the philosophical writings of Adorno. [8]

Adopting a broadly modernist perspective, Solomos engages critically with contemporary music aesthetics, often challenging trends he perceives as conservative, particularly those associated with neoclassicism and postmodernism. [9]

He also critiques historicism - particularly the notion of a linear musical evolution centered exclusively on canonical composers. In contrast, Solomos argues for a more pluralistic understanding of musical development as a complex interplay of diverse aesthetics and conceptions. [8]

In his recent work, he has explored topics such as the emergence of sound as a central musical parameter, sound ecology, and the concept of decay in contemporary music. [10]

Bibliography

Source: [11]

References

  1. ↑ Redhead, Lauren (2021). "Makis Solomos, From Music to Sound: The Emergence of Sound in 20th- and 21st-Century Music, Routledge Research in Music (Abingdon: Routledge, 2020), ISBN: 978-0-367-19213-6 (hbk)" . Twentieth-Century Music. 18 (2): 323–327. doi:10.1017/S1478572221000050. ISSN   1478-5722.
  2. ↑ "musecology.art - Makis Solomos". www.musecology.art. Retrieved 2025-01-10.
  3. ↑ Solōmos, Makēs (2023). Exploring the ecologies of music and sound: environmental, mental and social ecologies in music, sound art and artivisms. Translated by Higgins, Jennifer. London New York: Routledge, Taylor & Francis Group. ISBN   978-1-032-18424-1.
  4. ↑ "Makis Solomis". Discogs. Retrieved 2025-08-05.
  5. ↑ "Makis Solomos". smc.afim-asso.org. Retrieved 2025-08-05.
  6. ↑ "Makis Solomos". www.icmc14-smc14.net. Retrieved 2025-04-17.
  7. ↑ "SOLOMOS Makis - Musicologue". www.cirm-manca.org. Retrieved 2024-11-27.
  8. 1 2 "Makis Solomos – Routledge & CRC Press Author Profile". Routledge. Retrieved 10 January 2025.
  9. ↑ Solomos, Makis (1998). "Néoclassicisme et postmodernisme : deux antimodernismes". Musurgia. 5 (3–4). Éditions Eska: 91–107.
  10. ↑ Delaere, Mark (2022). Noise as a Constructive Element in Music: Theoretical and Music-Analytical Perspectives (PDF). Abingdon, Oxon; New York: Routledge. ISBN   978-1-032-20039-2 . Retrieved 1 June 2025.
  11. ↑ "Makis SOLOMOS". musidanse.univ-paris8.fr (in French). Retrieved 2024-11-27.
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